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 Frederick John Eversley  (1941 - )

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Lived/Active: California      Known for: sculpture-transparent, concave shapes

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Ad Code: 3
Frederick John Eversley
from Auction House Records.
Untitled (Violet, Amber and Blue)
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:

Selected Solo Exhibitions:
1970  Whitney Museum of American Art, New York, NY
1976  National Academy of Science, Washington, D. C.
Los Angeles Institute of Contemporary Art, Los Angeles, CA
Santa Barbara Museum, Santa Barbara, CA
Newport Harbor Art Museum, Newport Beach, CA
1977  Oakland Museum of Art, Oakland, CA
1978  Palm Springs Desert Museum, Palm Springs, CA
1981 National Academy of Science, Washington, D. C.
American Institute of Architects, Washington, D. C.
1982  Pepperdine University Art Gallery, Malibu, CA
1985  Loyola Marymount University, Los Angeles, CA
2003  Capa Esculturas, Brussels, Belgium
2004  European Space Agency Gallery, The Hague, Netherlands
2008  Quandro Gallery, Dubai, UAE

Selected Group Exhibitions:
1968  Los Angeles Sculpture, Limited Editions Gallery, Los Angeles, CA
1969  Point of View, California State College of Los Angeles Limited Editions Gallery, Los Angeles, CA
Plastic Art, San Pedro Municipal Gallery, San Pedro, CA
New Directions in Art, Westside Jewish Center, Los Angeles, CA
Plastic Presence, Jewish Museum, New York, NY
Painting and Sculpture Today- 1969, Indianapolis Museum of Art, Indianapolis, IN

1970  Fourth Annual California Image Exhibition, California State College at LA, Purchase Award,  Los Angeles, CA
Plastic Presence, Milwaukee Art Museum, Milwaukee, WI
Plastic Presence, San Francisco Museum of Art, San Francisco, CA
Dimensions in Black, Museum of Contemporary Art, La Jolla, CA
Two Generations of Black Artists, California State College at Los Angeles, CA
Art and Technology, Los Angeles County Museum of Art, Los Angeles, CA
Permutations - Light and Color, Museum of Contemporary Art, Chicago, IL
New Acquisitions, Whitney Museum of American Art, New York, NY
Looking West, Joslyn Museum of Art, Omaha, NE
Pierres De Fantasie, Oakland Museum, Oakland, CA
Whitney Sculpture Annual, Whitney Museum of American Art, New York, NY
Sculpture, California State College at Long Beach, Long Beach, CA

1971  Translucent and Transparent Art, Museum of Fine Arts, St. Petersburg, FL
Translucent and Transparent Art, Jacksonville Art Museum, Jacksonville, FL
Contemporary Black Artists in America, Whitney Museum of American Art, New York, NY
California Artists, Los Angeles County Museum of Art, Los Angeles, CA
Highlights of 1971 Season, Aldrich Museum of Contemporary Art, Ridgefield, CT
Plastic Possibilities, Jr. Art Gallery, Louisville, KY
Afro-American Artists, Rath Museum, Geneva, Switzerland
American Kunst, 1959-1970, Louisiana Museum of Contemporary Art, Humleback, Denmark
73rd Western Annual, Denver Art Museum, Denver, CO

1972  Twentieth Century Sculpture From Southern California Collection, UCLA, Los Angeles, CA
Multi-Media, Richmond Art Center, Richmond, CA
The Last Plastics Show, California Institute of Arts, Valencia, CA
Group Show, Los Angeles County Museum of Art, Los Angeles, CA
10th Annual Southern California Exhibitions, Long Beach Museum of Art, Long Beach, CA
Group Show, Stanford University Museum of Art, Palo Alto, CA
Art For Your Collection, Rhode Island Museum of Art, Providence, RI
Act for McGovern, Pace Gallery, New York, NY
Sculpture Show, Annely Juda Fine Arts, London, England
Looking West, ACA Gallery, New York, NY
Whitney Annual, Whitney Museum of American Art, New York, NY

1973  Six Sculptors - University of Colorado Art Museum, Boulder, CO
Blacks U.S.A. Now, New York Cultural Center, NY
Soft and Light, Taft Museum of Art, Cincinnati, OH
Contemporary American Art, Andrew Crispo Gallery, New York, NY
Illuminations and Reflections, Whitney Museum of American Art, Downtown Branch, New York, NY

1974  Directions in Afro-American Art, Herbert F. Johnston Museum of Art, Cornell University, Ithaca, NY

1975  Monumental Sculpture Competition, Society of the Four Arts, Palm Beach, FL            
Hard and Clear, Los Angeles County Museum of Arts, Los Angeles, CA
Contemporary American Sculpture, Virginia Museum, Richmond, VA

1976  A Tribute to Martin Luther King, Los Angeles Municipal Art Gallery, Los Angeles, CA
America As Art, National Collection of Fine Arts, Washington, D.C.
Painting & Sculpture in California - The Modern Era, San Francisco Museum of Art, San Francisco, CA
Carnegie-Mellon Alumni Exhibition, West Broadway Gallery, New York, NY
Painting and Sculpture Today - 1976, Indianapolis Museum of Art, Indianapolis, IN
Group Show, Lee Hoffman Gallery, Detroit, MI

1977  Painting & Sculpture in California - The Modern Era, National Collection of Fine Arts, Washington, D. C.
Inner Space, Mano Gallery, Chicago, IL
Contemporary Black Artists, Otis Art Institute, Los Angeles, CA
Contemporary Artists of the American West, Santa Fe Festival of the Arts, Santa Fe, NM
Inaugural Exhibition, Newport Harbor Art Museum, Newport Beach, CA
Materials of Art: Plastic, Joseloff Gallery, University of Hartford, West Hartford, CT
The Magic Circle, The Bronx Museum of the Arts, Bronx, NY

1978  Art of the Space Age, Huntsville Museum of Art, Huntsville, AL
Selected Acquisitions, Solomon R. Guggenheim Museum, New York, NY

1980  Artist in Residence Exhibition, National Air and Space Museum, Washington, D. C.

1982  100 Years of California Sculpture, The Oakland Museum, Oakland, CA
Une Experience Museographique: Echange entre Artistes 1931-1982 Pologne - U.S.A., Musee d'Art Moderne de la Ville de Paris, Paris, France
Forgotten Dimensions, Art Museum Association Traveling Exhibition, San Francisco, CA

1983  An Artistic Conversation, Ulster Museum, Belfast, Ireland Michael Lord Gallery, Milwaukee, WI
3-D Plus: Small Contemporary Sculpture, Braunstein Gallery, San Francisco, CA
An American Art: Post-World War II Painting and Sculpture, Birmingham Museum of Art, Birmingham, AL

1984  Forgotten Dimension, Palo Alto Cultural Center, Palo Alto, CA
Nevelson, Stella, Eversley, Hokin Gallery, Bay Harbor Islands, FL
Forgotten Dimension, Visual Arts Gallery, Florida International University, Miami, FL
A Broad Spectrum: Contemporary Los Angeles Painters and Sculptors-84, Design Center of Los Angeles, Los Angeles, CA
East West, California Afro-American Museum, Los Angeles, CA
Juda Rowan Gallery, London, U. K.
Reflections, Lonny Gans & Associates, Marina del Rey, CA

1985  Light Games, Angels Gate Cultural Center, San Pedro, CA

1987  Artwalk '87 Salvo, Merging One Gallery, Santa Monica, CA
Juda-Rowan Gallery, London, U. K.
Mathematik in der Kunst, Wilhelm-Hack Museum, Ludwigshafen, Germany

1988  Newport Harbor Art Museum, Newport, CA
Highlights Of The Simon Guggenheim Museum Collection, Columbia Museum Of Art, Columbia, SC
Constructivist Art, Museum Ludwig, Koln, GER

1990  Caro, Venet, Eversley, Elisabeth Franck Gallery, Knokke, Belgium
FIAC, Galerie Denise Rene, Paris, France

1991  ARCO, Galerie Lorenzelli Arte, Madrid, Spain
Art Miami, Eve Cohon Gallery, Miami, FL
Baker Jaffe Gallery, Boca Raton, FL
Finish Fetish, The University of Southern California, Los Angeles, CA
Constructive Concepts, Ersgard Gallery, Santa Monica, CA

1992  Fusion '93, Pauline Hirsh Gallery, Los Angeles, CA
In Context, Boritzer/Gray Gallery, Santa Monica, CA

1994  Highlights Of The Permanent Collection, Newport Harbor Art Museum, Newport Beach, CA

1995  Free Within Ourselves, National Museum Of American Art, Smithsonian Institution, Washington DC

1997  Feast On Art, Orange County Museum Of Art, Newport Beach, CA

2000  Celebrating Modern Art: The Anderson Collection, San Francisco Museum of Modern Art, San Francisco, CA
Permanent Collection, Orange County Museum of Art, Newport Beach, CA
Sculpture Today 2000, Galerie Marie-Louise Wirth, Zurich, Switzerland
Summer Show, Chatauqua Center for the Visual Arts, Chatauqua, NY                                                                               
2001  Biennale Internationale Dell'Arte Contemporanea, Florence, Italy - First Prize - Sculpture

2002  Mathart/Artmath, Shelby Gallery, Ringling School of Art and Design, Sarasota, Fl
Mono-Chrome, Paul Rogers/9W Gallery, New York, NY   
Samadhi: The Contemplation of Space, Chelsea Art Museum, New York, NY
Rhythm of Structure, Fire Patrol No.5 Gallery, New York, NY

2003  Selections of Permanent Collection, Chelsea Art Museum, New York, NY
Biennale Internationale Dell'Arte Contemporanea, Florence, Italy
Plastic Fantastic, Exhibit A Gallery, New York, NY

2004  Monocromos - De Malevich al presente, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Rhythm of Structure-Mathematic Aesthetic, Kenkeleba Gallery, New York, NY

2005  Insatiable Desires, Fisher Gallery, University of Southern California, Los Angeles, CA
Biennale Internationale Dell'Arte Contemporanea, Florence, Italy
African American Artists in Los Angeles, A Survey Exhibition: Pathways (1966-1989),
California African American Museum, Los Angeles, CA
2006  Energy/Experimentation: Black Artist and Abstraction 1964-1980, The Studio Museum, New York, NY
Austrian Biennale - 2006, Klagenfurt, Austria

2007  American Sculpture, Artpavillon-St-Urban, St Urban, CH

2011  California Culture, 1969-1980: Pluralism in the Postmodern Era, The Museum of Contemporary Art, Los Angeles CA (MOCA)
Now Dig This! Art and Black Los Angeles 1960-1980, Hammer Museum, Los Angeles, CA

Selected Bibliography:
Seldis, Henry J., "Eversley Show in New York," Los Angeles Times, June 8, 1970

Gruen, John, New York Magazine, Art Critic, June 8, 1970
---"Art News - Eversley in New York," Los Angeles Times, May 31, 1970

Haydon, Harold, "Art," Chicago Sun Times, May 31, 1970
---"Art News," Chicago Today, June 20, 1970, pg. 111

Rose, Barbara, "Art," Vogue Magazine, April 1970
--- "Black Art in America," Art in America, Sept. - Oct. 1970
---"Pace Review," Artforum, January 1971, pg. 73

Jones, Donald, "Art in Mid-America," Kansas City Star, March 7, 1971

Canaday, John, "Black Artists on View," New York Times, April 7, 1971, pg. 52.
---"Review of Whitney Sculpture Annual," Art International, Vol. XV, February 1971

Masheck, Joseph, "Sorting Out the Whitney Annual," Artforum, February 1971

Albright, Thomas, "A Concern for Abstract Form," San Francisco Chronicle, December 2, 1971

McCann, Cecile N., "Multi-Media Black Art," Artweek, March 25, 1972

Seldis, Henry J., "UC Campuses Show Modern Sculpture," Los Angeles Times, Calendar, March 12, 1972
---"Small Sculpture," Marzhaye Now, February 1971, Vol. XV-2, Iran pg. 20

Perkins, Constance, "Small Sculpture," Al-Majal, Turkey, 1970, Issue No. 27
---"Black Art: The Mainstream and Beyond," America, Russia, Issue No. 186, April 1972, pg. 54

Forgery, Benjamin, "Polished Spheres Catch and Hurl Light," The Washington Star, January 9, 1976, pg. C-3

Seldis, Henry J., "Optical Magic Turns Us Inward as We Look Out," Los Angeles Times, Calendar, May 23, 1976, pg. 76-78

Hyman, Jackie, "Reflective Sculptures in Newport," Daily Pilot, December 10, 1976, pg. Cl

Neisser, Pat, "Eversley Exhibit Opens in Orange County," Orange County Newport Life Magazine, January 1977, pg. 45

Albright, Thomas, "Color, Optical Illusions in Eversley's Sculptures," San Francisco Chronicle, May 17, 1977

Frankenstein, Alfred, "Asian Treasures and Modern Sculpture," San Francisco Examiner, March 6, 1977, pg. 41

Glass, Laurie H., "Fred Eversley Retrospective," Artweek, March 26, 1977, pg. 16

Goldenthal, Jolene, "Plastics Show Versatility," Hartford Times, January 1977
---"U of H to Show Plastics" The Hartford Courant, Sunday, January 30, 1977

Kutner, Janet, "Art - If You Can Find It," Dallas Morning News, August 10, 1978

Richard, Paul, "The Space Museum's Latest Craft," The Washington Post, December 8, 1978

Loar, Peggy, "Interview Frederick Eversley," Ocular, Summer Quarter, 1980, Vol. 5, No. 2

Weingarten, Toni, "Toys Just Waiting to be Discovered," The Evening Outlook, March 13-14, 1982

Atterbeny, Gisele, "Forgotten Dimension", New Art Examiner, Chicago, IL, Jan. 1983

Ahlander, Leslie Judd, "Enjoy Two Vital Views", The Miami News, Feb 10, 1984

Kohn, Helen L., "Celebrating Works of Black Artists", The Miami Herald, Feb. 10, 1984

McKenna, Kristine, "Eversley Revives The Finish Fetish Mode", Los Angeles Times, Oct. 2, 1985

Hugo, Joan, "Pick of The Week", L. A. Weekly, Oct. 4-10, 1985

Price, Susan, "Behind Studio Doors", Los Angeles Times Sunday Magazine, May 24, 1987

Guderian, Dietmar, Mathematik in der Kunst der letzten dreissig Jahre,  Germany, 1988

Wilson, William, "Mature Styles: The Veterans of In Context", Los Angeles Times, May 20, 1993

Riva, Ezio, "Interventi-Frederick John Eversley", Letterna Pristem, Milano, IT, 12 Giugno 1994

Madigan, Nick, "On The Trail of Art Walk", The Outlook, May 20, 1996

Leiby, Richard, "Conversation Pieces-When Art Goes Public", The Washington Post, June 27, 1997

Gallo, Cettina, "Arte Ed Energia - Frederick Eversley", ECO ENEA - L'ARCA, Milano, IT, May 1999

Rose, Barbara, "C'È ma non si vede", Arte In, Venezia, IT, anno XII, num. 64, December 99 - January 2000

Kraft, Von Martin, Weiss auf Grun, Zuritipp, Zurich, CH, 30 June 2000

Keltz, Jessica,  "Sculptor Eversley", The Chautauquan Daily, July 29-30, 2000

Braccini, Giulio, "La Biennale D'Arte Ecco Tutti I Premi", Il Giornale Della Toscana, December 16, 2001

Vancelette, Rachel, "American Artists in Italy. The 2001 Biennale Internazionale dell'Arte Contemporanea, Florence, Italy", NY Arts, January 2, 2002

Spike, John, "And the Winner is…" Art and Antiques, March 2002

Rose, Barbara, "Fred Eversley - Energeia", Capa Esculturas Catalog, Brussels, October 2003

Watabe, Mika, "Fred Eversley", Mono Magazine, Tokyo, Japan, November 2003

Gomez, Luis, "Capa Esculturas acoge la obra de Fred Eversley", Ecos, Spain, December 2003

De Vresse, Yves, "Sculptor in Light", Agenda Expo/Art Expo, December 2003

"Fred Eversley: Sculptures Optiques", Artenews, Brussels, Belguim, December 2003

"Galerie Capa Esculturas", Art Bruxelles, Brussels, Belguim, December, 2003

Marcucci, Raffaella, "L'arte contemporanea "invade" la Fortezza", La Nazione, Italy, December 6, 2003

Rose, Barbara, "The Meanings of Monochrome", Museo Nac. Centro de Arte Reina Sofía Cat, Madrid, June 2004

Fabre, Gladys, "Los Monocromos-Luz como Espacio-Tiempo o el Color como Devenir", Museo Nac. Centro de Arte Reina Sofía Cat, Madrid, June 2004

Solana, Guillermo, "Monocromos - El Color Del Silencio", Descubrir El Arte, Spain, Ano VI, No. 64 , June 2004

Del Vecchio, Paola, "Blanco Su Blanco-Artisti In Mostra Per Un Solo Colore", IL Mattino-Online, June 15, 2004

Navarro, Mariano, "Desde El Silencio De La Pintura", El Cultural, Madrid, June 17 2004

Blanco, Miguel Angle, "Monocromas: La Expresion Mas Radical Del Atre, Cultura, Madrid, June 18 2004

"El Arte De Un Solo Color Se Instala En El Museo Renia Sofia a Traves de 78 Artistas", La Cultura, Madrid, June 16, 2004

Forgey, Benjamin, "America's Artsy-Curvy Turn", The Washington Post, Washington DC, July 3, 2005

Lewis, JoAnn, "A Dentist Who Put Teeth in AU's Artistic Ambition", The Washington Post, Washington DC, July 3, 2005

Cohen, Jean Lawlor, "Art By Appointment", The Essential/Washington, Washington DC, November 2005

Shaw-Eagle, Jonna, " Top Picks", The Washington Times, Washington DC, November 15, 2005

Faccenda, Giovanni, "Pittura e Scultura Sorprendono alla Biennale" La Nazione,  Florence, Italy, December 6, 2005

Cotter, Holland, "Energy And Abstraction At The Studio Museum In Harlem" The New York Times, New York, April 7 2006

Arakkal, Yusuf, "Master Of Aesthetic Energy", New Indian Express, Madras, India, May 14, 2006

Von Drathen, Doris, "The Rediscovery Of The Function Of A Work Of Art", Folio, Cornell University, Ithaca, NY, 2007

Bellotto, Janet, "Gulf Art Fair In Dubai-Glittering Possibilities", Dart International, Toronto, Canada, Fall 2007

1970  First Purchase Prize Fourth Annual California Small Images Exhibition California State College at Los Angeles, CA

1972  First Purchase Prize Tenth Annual Southern California Exhibition Long Beach Museum of Art, Long Beach, CA

Individual Artist Fellowship Grant National Endowment for the Arts, Washington, D. C.

1977-80  First Artist in Residence Smithsonian Institution, Washington, D. C.
2001  First Prize - Sculpture Biennale Internationale Dell' Arte Contemporanea Florence, Italy
2003  City of Florence Award Biennale Internationale Dell' Arte Contemporanea Florence, Italy

Public Collections:
Smithsonian Institution, Washington, D. C.
California State College at Los Angeles, CA
Oakland Art Museum, Oakland, CA
Milwaukee Art Museum, Milwaukee, WI
Whitney Museum of American Art, New York, NY
John Main Memorial Collection, New York, NY
University of Kansas Art Gallery, Lawrence, KS
Long Beach Museum of Art, Long Beach, CA
Carrier Gallery of Art, Manchester, NH
Taft Museum of Art, Cincinnati, OH
Cranbrook Art Gallery, Bloomfield Hills, MI
National Academy of Science, Washington, D. C.
National Museum of American Art, Washington, D. C.
Massachusetts Institute of Technology, Cambridge, MA
Neuberger Museum of Art, Purchase, NY
Newport Harbor Art Museum, Newport Beach, CA
Solomon R. Guggenheim Museum, New York, NY
Smith College Museum of Art, Northampton, MA
National Air and Space Museum, Smithsonian Institution, Washington, D. C.
Dade County International Airport, Miami, FL
San Francisco International Airport, San Francisco, CA
Thyssen-Bornemisza Collection, Castagnola, Switzerland
J. Paul Getty Museum, Malibu, CA
Palm Springs Desert Museum, Palm Springs, CA
Museum Of Contemporary Art, Los Angeles, CA
Laguna Art Museum, Laguna Beach, CA
Muzeum Sztuki, Lorz, Poland
Fisher Gallery, University of South California, Los Angeles, CA
Summlang Goetz, Munich, Germany
Rose Museum of Art, Brandis University, Boston, MA
Armand Hammer Museum, Los Angeles, CA
Katzen Center for the Arts, American University, Washington, D. C.
Santa Barbara Museum of Art, Santa Barbara, CA

Public Commissions:
International Business Machines General Systems Division, Atlanta, GA
Rohm Corporation, Santa Clara, CA
Dade County International Airport, Miami, FL
Hyatt-Reunion Hotel, Dallas, TX
San Francisco International Airport, San Francisco, CA
Armand Haimner Award, The Cultural Commission, Los Angeles, CA
Genstar Ltd., San Francisco, CA
Lloyds Bank of California, Los Angeles, CA
Lenox Square, Atlanta, GA
Flour Corporation, Irvine, CA
Barton Plaza, Rancho Cucamonga, CA
First Interstate Plaza, San Diego, CA
Bank Of America, San Francisco, CA
McDonald's Corporation, Oak Brook, IL
Pavilion of Saudi Arabia, Expo 92, Sevilla, Spain
Edmund D. Brown State Office Building, San Francisco, CA
U.S. Internal Revenue Service Headquarters - Entrance
Sculpture, New Carrollton, MD
Rossini Sculpture Park, Briosco (MI), Italy
Atelier sul Mae, Castel Di Tusa, Sicily, Italy
Katzen Center for the Arts, American University, Washington, D. C.

Statement of the Artist:
Energy concerns, both physical and metaphysical, is central to the quality of life for all of humanity and thus seems like an important and fertile area for artistic investigation and activity. Most of my attention, both intellectually and aesthetically, has involved using my art forms as an expression of energy concerns.

Energy means literally, the capacity to do work —— to move against a force; to create a rise in temperature; to cause a flow of electrons; to facilitate the process of photosynthesis. The energy flux is the common denominator of all natural and human systems. A living organism can be viewed as a chemical system designed to maintain and replicate itself by utilizing energy that originates from the sun. The artful manipulation of energy is the essential component to the supply of food, to physical comfort and to improving the quality of life beyond rudimentary activities necessary for survival. The concept of energy has a transcendental quality, both in physical and metaphysical terms. It is a reality, with a proven validity and durability, that which transcends whatever is the popular mathematical description of the times, from its application in classical Newtonian mechanics to the currently accepted roles in the twin intellectual revolutions of Einstein's special theory of relativity and Planck's theory of quantum mechanics. The special theory of relativity simply states that everything is energy. In one form energy is converted into motion, which provides the element time and thus defines any event or process. The other form of energy is mass, which is the basis of the solid matter, which composes the real world. The elements of mass and motion and energy are interchangeable and the other two defines each element. Light and radiation have no matter of mass, and as such are pure energy.

The genesis of energy is central to the mystery of our existence as animate beings in an inanimate universe. The most disturbing impression gained from any study of energy phenomena, in both a social and physical sense, is the present and ever growing energy shortage. We are witnessing an end of an era of cheap and abundant energy and all the social mores that this implied. An examination of recent history regarding growth in population, automation and energy usage immediately calls to mind the frightening impact of the simple mathematical tautology that is implicit in any exponential curve. That is --the doubling of any quantity at some regular interval requires that the magnitude of the last term of the resulting series exceed the cumulative total of all the magnitudes of the preceding terms of that series. Since it is projected that the world energy demand will triple in the next 25 years, it is obvious that major attention must be focused onto this problem.

It will be necessary to examine, with both objectivity and humanity, the necessity of this projected increase in energy usage, its relationship to the quality of life, the various technological options for coping with this crisis and the environmental and social consequences of these options. Mass starvation, war, population and even the demise of life as we know it are some of the possible obvious end results of a non-solution to this crisis.

The original and ultimate source of all energy on earth is that derived from the sun and extensive utilization of solar energy seems the most likely long-range solution to the energy crisis. My early sculpture efforts were directly influenced by the concepts of this energy source, but were representative of the board sense of energy.

One of the most novel proposals for efficient harnessing and utilization of solar energy involves the orbiting satellite power stations. The solar energy would be converted into high intensity microwave power using either solar cells or helium turbogenerators, and beamed at selected receiving stations on the surface of the earth. Each receiving station would consist of a large array of paraboloidal microwave antennas and a power conversion facility. The orbiting power station would overcome much of the inherent inefficiency of earth based solar power systems which is due to the large percentage of incident solar energy radiation absorbed by or reflected from our atmosphere. If this proposed system, becomes a reality a large portion of the countryside will be covered with these parabolic arrays. This and other solar energy harnessing systems may cause us to witness a major change in architectural shapes, from the prevailing rectilinear and round forms to parabolic contours.

This possibility led me to a lifetime of exploration of the parabola and parabolic shapes their natural forms in nature, their inherent physical and optical properties, and their societal implications. The parabolic shape is found to exist in a wide range of natural forms and physical phenomena:
trajectory of projectiles; acoustical and microwave reflectors, parabolic sand dunes created by wind action; the parabolic shape of graphical representation of many physical phenomenon in the fields of fluid and aerodynamics. What particularly impressed me was its inherent ability to concentrate, in lens and reflector modes, all forms of Electro-magnetic and acoustic energy to a single focal point.

Accordingly, I became very involved with creating works of sculpture using parabolic shapes. My early sculptures consisted of transparent, multi-color plano-concave cylindrical paraboloidal lenses. Some of these lenses had a full paraboloidal surface; others had apertures at the center either large or small. A few of the lens were cut to result in a tapered cross-section in the vertical plane, thinner at the top than at the bottom. The transparent pieces employed the inherent image and energy concentrating properties of the concave paraboloidal shape in order to act as giant multi- hued fish eye lenses which capture an image within themselves of all of the surroundings. These transparent lenses also possessed an important aspect of light energy concentration, which is projected onto the environment and the spectator. The visual cognition of this energy concentration caused many to perceive them as iconic or monadic objects possessing their own internal source of energy.

The sculptures evolved into translucent and opaque plano-concave paraboloidal discs. They act as front surface parabolic mirrors of reflectors which capture and focus the frontal light energy onto an imaginary plane or point which appears to be suspended in space between the parabolic surface and the spectator. The physical energy phenomenon depicted optically by the sculptures is valid for and representational of the entire spectrum of electromagnetic and acoustical energy. If Freud, Reich and the Egyptians are correct about their assumptions regarding physic energy, the sculptures may prove to be valid concentrator of metaphysical energy.

It is somewhat ironic that my principle sculptural medium polyester resin is a petrochemical product, the energy source in shortest supply.

A study of energy concerns naturally leads one to consider the creation of, the transcendental nature of, and the eventual transformation of the universe as a whole. Concepts such as stars expanding their energy and becoming black holes, white dwarfs, and neutron stars are important components of modern cosmological studies. The black, white and gray opaque parabolic mirrors are also literal representations of this phenomenon.

The original goal of my early pieces of sculpture was to create kinetic art without using kinetic elements such as mechanical movement or artificial light changes. I preferred to employ natural changes in light, the environment and the spectator to create the kinetic effects. This emphasis changed in 1977 when I discovered the existence of the Savonius Rotor (Wing-Rotor) windmill. This vertical-axis Windmill is characterized by very simple construction, with only one or two rotating bearings, Omni-directional sensitivity to the wind direction, and little need for a tall mounting tower.

I utilized the theory of the Savonius Rotor windmill to design and construct the 12-Meter tall double parabolic Sculpture for the entrance of the Dade County (Miami) International Airport. The twin parabolic shapes, which are constructed of mirror polished stainless steel, are mounted onto a circular turntable. An electrical generator is mounted under the turntable and attached to its central axis. When wind strikes the twin parabolic shapes it causes them to rotate around their vertical central axis and thus rotate the generator causing it to generate electricity. The resulting electricity energizes the neon lamps located around the periphery of the twin parabolic shapes. The stronger the prevailing wind, the faster the vertical rotation of the parabolic shapes, and the brighter the neon illumination. The sculpture acts as a kinetic visual anemometer.

This first involvement with the use of wind energy to create physically kinetic sculpture has led to a series air current activated suspended rotating sculptures. These sculptures are spiral airfoils each containing hundreds of internal plastic prisms which refract the sunlight into moving spectra cast upon the environs thus celebrating both solar and wind energy.

I have also created a series of transparent fountains, which utilize crystal clear mineral oil (petroleum), as the liquid flowing medium. The crystal clear oil creates waves as it flows over the surface of the sculpture, with each wave acting as a liquid prism refracting the sunlight into moving spectra cast upon the environs. Thus, a celebration of solar and petro energy.

Energy has been a source of inspiration and speculation for poets, mystics and philosophers through the ages.

William Blake wrote:
Man has no Body distinct from his Soul; for that called Body
is a portion of Soul
discern'd by the five Senses
the chief
inlets of Soul in this age.

Energy is the only life and is from the Body;
and reason is the bound or outward circumference of Energy.

Energy is Eternal Delight.

The Marriage of Heaven and Hell, 1793

I emphatically concur.

Frederick Eversley; Revised March 11, 1999

** If you discover credit omissions or have additional information to add, please let us know at

Frederick Eversley is also mentioned in these AskART essays:
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